User manual

Common uses for the LiveCello and Live Bass H-clamps

The H-clamp’s design is based on circular clamps used by stringed instru-

ment makers to hold the edges of the sound box together very tightly

while the glue that ﬁxes them together sets. The circular clamp jaws mean

that it can be ﬁtted very quickly and easily to any location around the body

of the instrument. As long as the precautions described in this manual for

tapered or domed sound boxes are followed, it should be difﬁcult to cause

any structural damage to the edge of the instrument’s body by over-tight-

ening as this is its strongest point. It is also unlikely that it would prove

necessary at any stage to tighten the H-clamp any more than the instru-

ment maker would have tightened the cramps used in its manufacture.

The only real constraint on using the H-clamp is whether or not it gets

in the way when the instrument is being played. The positions described

earlier should normally be the best for avoiding any interference with the

action of playing the instrument but the beauty of the H-clamp is that

there are no hard and fast rules. Any position that suits your playing style,

your microphone(s) and the tone you are seeking is the right position. For

recording in particular, multiple H-clamps can be attached in various posi-

tions. The only real limit is how many can be attached before the balance

or feel of the instrument are affected. The number depends primarily on

the type of microphone used, larger, more bulky microphones being the

more limiting. Nevertheless, in most instances it should be possible to at-

tach at least three before the microphones become too intrusive.

In the same way that there are many different options for attaching the

H-clamp to cellos and double basses, the range of uses is almost limitless.

Some of the more common ones are outlined here and more information is

available at exploraudio.com.

A) On stage

1. Single microphone (typically a pencil style

instrument microphone but small lavalier or pro

fessional vocal microphones may also give good

results) positioned to capture the best possible

tone. Ideal for any pure acoustic performance

- classical, folk, rock/pop or jazz.

2. Microphone blended with on-board pick-up.

Best for group performances where the higher

volumes required create problems with feedback

or where the pick-up is used for the live sound

but a microphone recording is needed for studio

mixing later.